Agatha All Along: Episode Four – A Rock and Roll Requiem?
Agatha All Along, Marvel’s latest foray into the MCU’s mystical side, continues its intriguing, if somewhat uneven, journey. Episode four, titled "If I Can’t Teach You/Let My Song Reach You," shifts focus onto Alice, while simultaneously introducing a new dynamic to the coven’s already chaotic dynamic. The episode hinges on a blend of supernatural mystery, musical interludes, and generational trauma, all wrapped in a visually striking and surprisingly ’70s-infused aesthetic. However, while the performances are consistently strong and the humor often lands, the overarching narrative continues to feel somewhat underdeveloped, leaving the audience yearning for a more focused and impactful storyline.
The Aftermath and a New Green Witch: The episode opens with the aftermath of Sharon/Mrs. Hart’s death, confirmed to be definitively caused by the poisoned wine from the previous episode. This immediately throws the coven into disarray. The discussion of death extends to Alice’s mother, Lorna, whose demise in a “hotel fire on tour,” rather than on the Witches’ Road, is revealed to have happened a long ago. This revelation highlights a curious narrative inconsistency: Lorna penned the incredibly popular “Ballad of the Witches’ Road” (40 million copies sold worldwide – a figure mirroring the sales success of iconic albums like the Eagles’ greatest hits), yet the details of her death remain obscure. This abrupt contradiction leaves the audience questioning the overall consistency of the show’s established lore.
"A woman is dead," Calderu states bluntly, setting the tone for the episode. Agatha, displaying her characteristically callous yet strangely captivating blend of charm and sociopathy, dismisses the gravity of the situation, calling Sharon a "bad draft pick." This sparks a debate on the coven’s need for a replacement Green Witch, leading to a comical summoning ritual where each witch requests specific qualities for their ideal replacement — Jennifer wants someone hot, Alice wants Advil-provision capabilities, and Agatha simply desires someone not “annoying” or “super political." This culminates in the unexpected arrival of Rio Vidal (Aubrey Plaza), plucked seemingly from the Earth itself, much to Agatha’s chagrin.
A Familiar House, a New Set: The narrative then leads the coven back to the same beach house from the previous episode, now dramatically transformed into a vibrant 1970s-themed recording studio. Each character is graced with impeccably styled outfits reminiscent of the era’s iconic musicians – from Liza Minnelli to Marc Bolan. This sudden shift in setting and aesthetic, while visually impressive, feels strangely disjointed from the overall narrative flow, raising questions about the show’s narrative cohesiveness.
The Curse and the Concert: The group embarks on another scavenger hunt, uncovering clues related to Alice’s past. It’s revealed that Lorna had fallen on hard times, forcing her to sell her song catalog to maintain her home. This poignant moment is quickly overshadowed by the discovery of a backward-spinning record inscribed with the ominous words, "play me". The act of playing the record unleashes a curse manifested as scorching burn marks on the witches’ shoulders, a shared trauma born from Alice’s family history. The only solution, according to the bizarre logic of the story, is for the coven to form a rock band and perform "The Ballad of the Witches’ Road."
The ensuing musical performance, while entertaining, feels somewhat contrived and tacked on to the narrative. The curse, manifested as a harpy-like ghoul, is easily dispersed through their performance, revealing Alice’s mother’s original intention: the song acted as a protection spell. This anticlimactic resolution diminishes some of the tension built up by the curse’s initial impact; it feels more like a convenient plot device rather than a serious threat.
Unresolved Threads: Following the musical resolution, Teen collapses into a coma, a consequence of the spell. Jennifer briefly recounts her past as a midwife who lost her magic after an event involving the Obstetrics Association of Greater Boston – a cryptic clue that remains unexplained in the episode and whose mystery hangs in the balance.
The episode concludes with a somewhat ambiguous encounter between Agatha and Rio, who share scars reflecting past traumas. Rio’s revelation that "that boy isn’t yours" leaves Agatha disturbed, hinting at a deeper, unexplored mystery surrounding a potential betrayal and a complicated familial relationship that’s yet to unravel. The loose ends left unresolved leave the viewer wondering about the show’s central conflict and its overall direction.
Critical Assessment: "If I Can’t Teach You/Let My Song Reach You" is a visually stimulating episode boasting strong performances from the ensemble cast. The humor, particularly Agatha’s deadpan reactions and the coven’s interactions, is often effective. However, the narrative itself operates with a strange disconnect. The plot points feel somewhat arbitrary strung together, rather than organically developed from a cohesive narrative. The shift in tone between the relatively serious beginning and the abrupt musical interlude feels jarring, leaving the audience with a sense of unease; it falls short of successfully weaving a compelling and emotionally resonant storyline. The repeated use of the same set, despite the changing narrative, also weakens both the suspense and the immersion of the show.
The episode’s failure to create genuine stakes is potentially the most disappointing aspect. While the threat of death has served as a narrative tool, most death attempts have so far gone unresolved, leaving the audience with minimal consequence, save for Mrs. Hart. As the limited series heads into its final half, a greater focus on solidifying the plot’s core conflict, investing greater emotional weight in the relationships between the characters, and raising the stakes significantly is crucial in order for Agatha All Along to reach its full potential. Otherwise, the show remains a highly likable but ultimately unsatisfying ride.
